Subscribe to
Opera Today

Receive articles and news via RSS feeds or email subscription.


facebook-icon.png


twitter_logo[1].gif



9780393088953.png

9780521746472.png

0810888688.gif

0810882728.gif

Recently in Reviews

Garsington Opera transfers Falstaff from Elizabeth pomp to Edwardian pompousness

Bruno Ravella’s new production of Verdi's Falstaff for Garsington Opera eschews Elizabethan pomp in favour of Edwardian pompousness, and in so doing places incipient, insurgent feminism and the eternal class consciousness of fin de siècle English polite society centre stage.

Mascagni's Isabeau at Opera Holland Park: in conversation with David Butt Philip

Opera directors are used to thinking their way out of theatrical, dramaturgical and musico-dramatic conundrums, but one of the more unusual challenges must be how to stage the spectacle of a young princess’s naked horseback-ride through the streets of a city.

Grange Park Opera travels to America

The Italian censors forced Giuseppe Verdi and his librettist Antonio Somma to relocate their operatic drama of the murder of the Swedish King Gustav III to Boston, demote the monarch to state governor and rename him Riccardo, and for their production of Un ballo in maschera at Grange Park Opera, director Stephen Medcalf and designer Jamie Vartan have left the ‘ruler’ in his censorial exile.

Puccini’s La bohème at The Royal Opera House

When I reviewed Covent Garden’s Tosca back in January, I came very close to suggesting that we might be entering a period of crisis in casting the great Puccini operas. Fast forward six months, and what a world of difference!

Na’ama Zisser's Mamzer Bastard (world premiere)

Let me begin, like an undergraduate unsure quite what to say at the beginning of an essay: there were many reasons to admire the first performance of Na’ama Zisser’s opera, Mamzer Bastard, a co-commission from the Royal Opera and the Guildhall.

Les Arts Florissants : An English Garden, Barbican London

At the Barbican, London, Les Arts Florissants conducted by Paul Agnew, with soloists of Le Jardin de Voix in "An English Garden" a semi-staged programme of English baroque.

Die Walküre in San Francisco

The hero Siegfried in utero, Siegmund dead, Wotan humiliated, Brünnhilde asleep, San Francisco’s Ring ripped relentlessly into the shredded emotional lives of its gods and mortals. Conductor Donald Runnicles laid bare Richard Wagner’s score in its most heroic and in its most personal revelations, in their intimacy and in their exploding release.

Das Rheingold in San Francisco

Alberich’s ring forged, the gods moved into Valhalla, Loge’s Bic flicked, Wagner’s cumbersome nineteenth century mythology began unfolding last night here in Bayreuth-by-the-Bay.

ENO's Acis and Galatea at Lilian Baylis House

The shepherds and nymphs are at play! It’s end-of-the-year office-party time in Elysium. The bean-bags, balloons and banners - ‘Work Hard, Play Harder’ - invite the weary workers of Mountain Media to let their hair down, and enter the ‘Groves of Delights and Crystal Fountains’.

Lohengrin at the Royal Opera House

Since returning to London in January, I have been heartened by much of what I have seen - and indeed heard - from the Royal Opera.

Stéphane Degout and Simon Lepper

Another wonderful Wigmore song recital: this time from Stéphane Degout – recently shining in George Benjamin's new operatic masterpiece,

An excellent La finta semplice from Classical Opera

‘How beautiful it is to love! But even more beautiful is freedom!’ The opening lines of the libretto of Mozart’s La finta semplice are as contradictory as the unfolding tale is ridiculous. Either that master of comedy, Carlo Goldoni, was having an off-day when he penned the text - which was performed during the Carnival of 1764 in the Teatro Giustiniani di S. Moisè in Venice with music by Salvatore Perillo - or Marco Coltellini, the poeta cesareo who was entertaining the Viennese aristocracy in 1768, took unfortunate liberties with poetry and plot.

Pan-European Orpheus : Julian Prégardien

"Orpheus I am!" - An unusual but very well chosen collection of songs, arias and madrigals from the 17th century, featuring Julian Prégardien and Teatro del mondo. Devised by Andreas Küppers, this collection crosses boundaries demonstrating how Italian, German, French and English contemporaries responded to the legend of Orpheus and Eurydice.

Whatever Love Is: The Prince Consort at Wigmore Hall

‘We love singing songs, telling stories …’ profess The Prince Consort on their website, and this carefully curated programme at Wigmore Hall perfectly embodied this passion, as Artistic Director and pianist Alisdair Hogarth was joined by tenor Andrew Staples (the Consort’s Creative Director), Verity Wingate (soprano) and poet Laura Mucha to reflect on ‘whatever love is’.

Bryn Terfel's magnetic Mephisto in Amsterdam

It had been a while since Bryn Terfel sang a complete opera role in Amsterdam. Back in 2002 his larger-than-life Doctor Dulcamara hijacked the stage of what was then De Nederlandse Opera, now Dutch National Opera.

Laci Boldemann’s Opera Black Is White, Said the Emperor

We normally think of operas as being serious or comical. But a number of operas-some familiar, others forgotten-are neither of these. Instead, they are fantastical, dealing with such things as the fairy world and sorcerers, or with the world of dreams.

A volcanic Elektra by the Netherlands Radio Philharmonic

“There are no gods in heaven!” sings Elektra just before her brother Orest kills their mother. In the Greek plays about the cursed House of Atreus the Olympian gods command the banished Orestes to return home and avenge his father Agamemnon’s murder at the hands of his wife Clytemnestra. He dispatches both her and her lover Aegisthus.

Così fan tutte: Opera Holland Park

Absence makes the heart grow fonder; or does it? In Così fan tutte, who knows? Or rather, what could such a question even mean?

The poignancy of triviality: Garsington Opera's Capriccio

“Wort oder Ton?” asks Richard Strauss’s final opera, Capriccio. The Countess answers with a question of her own, at the close of this self-consciously self-reflective Konversationstück für Musik: “Gibt es einen, der nicht trivail ist?” (“Is there any ending that isn’t trivial?”)

Netia Jones' new Die Zauberflöte opens Garsington Opera's 2018 season

“These portals, these columns prove/that wisdom, industry and art reside here.” So says Tamino, as he gazes up at the three imposing doors in the centre of Netia Jones’ replica of the 18th-century Wormsley Park House - in the grounds of which Garsington Opera’s ‘floating’ Pavilion makes its home each summer.

OPERA TODAY ARCHIVES »

Reviews

23 Jul 2012

Hector Berlioz, Les Troyens (concert performance, BBC Proms)

Hearing The Trojans in concert at the Royal Albert Hall as part of the Proms was, for me at least, a much happier experience than when it laboured under the crowd-pleasing would-be-musical-comedy served up by David McVicar’s production for the Royal Opera.

Hector Berlioz : Les Troyens

Cassandre: Anna Caterina Antonacci; Chorèbe - Fabio Capitanucci; Enée: Bryan Hymel; Didon: Eva-Maria Westbroek; Narbal: Brindley Sherratt; Anna: Hanna Hipp; Ascagne: Barbara Senator; Priam: Robert Lloyd; Hécube: Pamela Helen Stephen; Ghost of Hector: Jihoon Kim; Panthée: Ashley Holland; Hélénus: Ji Hyun Kim; Greek Captain: Lukas Jakobski; Trojan Soldier/Mercure: Daniel Grice; Iopas: Ji-Min Park; First Soldier: Adrian Clarke; Second Soldier: Jeremy White; Hylas: Ed Lyon. Orchestra of the Royal Opera House; Royal Opera Chorus (chorus master: Renato Balsadonna)/Sir Antonio Pappano (conductor).

22nd July 2012, Royal Albert Hall, London.

 

Speaking to a few members of the audience who had also attended both, I was clearly not the only person to have found conductor and soloists liberated by the concert hall. Sir Antonio Pappano’s conducting still has its problems, but he makes Berlioz sound less like Verdi than he does Wagner, and, as at Covent Garden, his reading gathered strength as it went on. Even the first act, where sometimes he appeared to think that he was conducting Aida, had stronger, more idiomatic moments. The very opening was far too fast, breathless rather than jubilant, the Trojans opening ‘Ha! Ha!’ sounding as if they were hyper-ventilating. However, the transformation of mood signalling the arrival of Cassandre was very well handled, doubtless informed by plenty of theatrical experience yet without the encumbrance of inadequate scenic presentation. The disquieting weirdness of the orchestra throughout her recitative and aria painted a thousand words. Likewise, the terrible, ominous tread of the march and choral hymn, ‘Dieux protecteurs de la ville éternelle’ - the irony of the words properly telling - was compellingly presented, far more in touch with the inheritance of Gluck’s obsequies than had previously been the case. It was a pity, then, that the ensuing Wrestlers’ Dance reverted to Verdian type. Cassandre’s aria, ‘Non, je ne verrai pas la deplorable fête’ was conducted as if Pappano had a bus to catch, but thereafter things settled down, off-stage - or rather arena - brass sounding utterly resplendent in the act finale. One might have had quibbles here and there, but save for an unfortunate lapse of tension towards the end of the fourth act - it really must be maintained here, lest the Berlioz nay-sayers have their day in court over alleged ‘longueurs’ - there was much to enjoy, not least a vividly pictorial Royal Hunt and Storm, suffused also with erotic longing.

Of course, those of us who have heard Sir Colin Davis conduct the opera will never forget the experience: a performance far more alert to Berlioz’s formal imperatives, in which never, not once, did the dramatic, Gluckian tensian sag, but sadly, it is not logistically possible for every performance one hears to emanate from the hands of the world’s greatest Berlioz interpreter. The best stomachs, to misquote Voltaire, are not necessarily those that reject all food. Pappano more often than not did a good job, considerably better than at the staged performance I saw. And the Orchestra of the Royal Opera House played magnificently throughout, even on the occasions when its direction proved a little misguided.

The major problem with a number of the sung performances remained the level not only of French pronunciation, but French style. The latter is not monolithic of course, and it is no bad thing to have preconceptions challenged, but singing Berlioz as if he were Verdi simply does not pass muster, especially if pronunciation is all over the place. (Incidentally, the lack of comment by many writers on this crucial aspect should really be a matter for concern. If English-language critics simply cannot hear when the French language is being distorted, even butchered, they should probably leave Berlioz well alone.) There was a broad spectrum, of course: two singers who again covered themselves in glory were Ed Lyon as Hylas, his song deceptively simple and touching, and Anna Caterina Antonacci as Cassandre. If there were times when the orchestra threatened to overwhelm the latter’s voice, it never did, and that struggle is surely expressive of the drama. Relieved of McVicarisms, Antonacci channelled all of her musico-dramatic energies into a searing portrayal of the doomed prophetess. Even as a little boy reading the ancient legends, Cassandra was for me a figure of empathy; here, her predicament and nobility of spirit were searingly portrayed in a performance that would have nothing whatsoever to fear from comparison with Davis’s Petra Lang. Ironically, Eva-Maria Westbroek’s Didon, if hardly an epitome of French style, came alive far more dramatically than on stage. There was now a proper sense of a woman scorned, of righteous fury. Bryan Hymel’s Enée, however, continues to lack not only correct, or even feasible, pronunciation, but also refulgence of tone. If only, Jonas Kaufmann had been fit to sing. At times, alas, Hymel sounded like a parody of Jon Vickers Perhaps others can more readily overlook the odd mispronunciations, also a characteristic of Fabio Capitanucci’s Chorèbe, but they surely ought at least to have difficulties with the strangulated tone and the crude, Verdi-like delivery. Vignettes were often well taken. Ji-Min Park’s Iopas was sung beautifully, if one could ignore the lack of ease with the language. And small though the part may be, Pamela Helen Stephen’s Hécube somehow managed blood-curdlingly to capture the attention, as she and others recoiled at the death of Laocoön.

Aside from the second act finale, when the women experienced slight intonational problems, the choral singing was excellent too. Not quite a match, perhaps for Davis’s London Symphony Chorus - is there a chorus anywhere that has sung more Berlioz? - but impressive nevertheless. As an introduction to Berlioz’s extraordinary opera, this could hardly have failed to impress. Even for those of us who have known Les Troyens for a while, it remained an inspiring, if in some respects flawed, experience. Both the Proms and the Royal Opera should be congratulated for their efforts in bringing the work to a wider audience.

Mark Berry

Send to a friend

Send a link to this article to a friend with an optional message.

Friend's Email Address: (required)

Your Email Address: (required)

Message (optional):